Variety (March 1921)

Friday, March 25, 1921 SHOW REVIEWS 21 LILLIAN KINGSBURY * CO. (2) •Alias Who." (Dramatic). 19 Mint; Full Sfmg: «3rd St. "Alias Who" Is a dramatic sketch with a surprise finish, crudely con- structed in the main, hut holding numerous flashes of first rate melo- dramatic interest. There is a good thread of comedy runnIn. through the first part of the plot and the author succeeded well in keeping the audience from catching any 3Jsjt of .the cMmaar. Wis Tnlngsbury is assist*ul by two men, one playing a cowboy suitor and the other a judge. The locale is Texan, the ac- tion being laid in a cabin on the frontier. That atlas Kingsbury is a woman lawyer does not develop until the finish, the audience being led to be- lieve she is a fugitive murderess. Instead she is counsel for the real murderess and conceives the Idea jjf trapping the judge who is to sit * at the trial and inform him the woman over whose case he is to . preside is his own daughter. The dialog-explains the judge will control the jury. Miss Kingsbury, . during the action, gives a graphic account Of the events leading up .to the murder, telling in detail of how the deed was committed, its "unwritten law" angle and why in her opinion it was Justitied. The man playing the judge and the cow- boy suitor are adequate. The sketch \vill do for the pop houses, although Miss King dmry «how* capabilities beyond it. /.v». THREE MICHON BROS. Acrobsta. 7 Mins.; Full Stege. American. 'Three stocky, well set up hand- to-hand acrobats have a snappy . routine of Balancing feats with sev- eral striking feature tricks in hmg leaps from a spring board into hand-to-hand catches. They dress neatly in whito sport shirts and outing trousers and get to work swiftly at the opening with complicated routines in hand- stands and lifts into the two high. A novelty of the early part is the work of two of the trio. A top mounter dons a tight waistcoat and is tossed about violently by the ' understandcr. The lighter worker is swung about over shoulder and around back much as though he were a bandmaster's baton. A platform about five feet high is rigged up in about "four" of the stage. One of the top mounters doee a leap ol six or eight feet into a hand-to-hand stand, and the trick is done again for a much longer leap with a take-oft from the snrlngbou.-d attached to the pedes- tal or platform. This is almost sensational, the top mounter going through a dive of 15 feet or more before settling into the hand-to- hand grip. They did very well opening the bill on the roof. An opener for the best grudge of vaudeville. f'ush. FOSTER snd RAE. Skit. 15 Mins.; Three (Special Drops). 58th St. Earl Foster and Ethel Rae have probably been in the West with this turn, one of tho Mack and Walker ■kits which the latter offered with a bench in one. In the present turn a drop in about "three" shows a garden beyond the porch, a covered bench and the title is "After Din- ner." Many of the lines are recalled as Mack and Walker's, though some have been changed. The dialogue is interrupted by Foster's solo, and the turn ends with a duet, the song finish being used instead of a dance. It's a neat turn for the three a day and was cordially received, on fifth. Ibee. WARD and WILSON. Talk and Songs. 15 Mins.; One arc 1 Audience. Metropolitan. The woman opens vocalizing and halts the orchestra to engage in re- partee with pseudo-belated patron seeking ;i seat. He's in comedy gct- Up, ripe nose, dinky kelly and so on. Crossfire for a few minutes, and then exit hit with house usher in- sisting he leave house. She dues "I lake It," exits and returns white tights and abbreviated dress to find him emerging from behind the right tormentor. Some more gagging, this time disclosing considerable all* eient material such as "We're gonrut have a boy at our house soon: last time my mother was sick we had a Kirl; now my father Is sick.' Yes. «t went, as everything did thai even- lr.g. A imp parody medley closed. Not much point to It, unfunny and pint- less. Bmall lime. PALACE. The bill at the Palace for the cur- rent week estimates as topping the $7,000 mark in salaries, and It re- flects that amount In class through- out the entire three hours and IS minutes, despite two of the acts cut into their running time and hurried It along. Whether or not the pres- ent program was laid out with the intention of overcoming the obstacle of Holy Week, and the house was very close to capacity, it should certainly draw business, as it will ro dwni on <&« bOv.JNP'&e - one of the best bills of this season. Outside the theatre the billing is being split three ways between Frisco, Four Marx Brothers and Tempest and Sunshine, who, inci- dently, dropped from the running order after the Monday matinee be- cause of the illneas of the latter, re- placed by Nat Nazarro, S:\, which forced him to double from the Ham- ilton. There was plenty of dynamite during the evening, Masters and Kraft revue. Dolly Kay and Frisco supplied the fireworks during the first part, with Buck and Bubbles of the Nazzaro act and the Marx boys duplicating in the later por- tion. It was a big night for every- one concerned, though those men- tioned could have tied it up prop- erly if they'd wanted or had been allowed to. Mis.s Tempest walked on. in cos- tume, succeeding tho Topics film opening intermission, to announce the inability of her partner t. ap- pear, and though it was undoubt- edly a disappointment to the Mon- day night gathering, the two col- ored youths, Buck and Bubbles, walked on to a reception and could have been there yet according to the demonstration accorded them at the finish. It was a fine young clean-up for the quartet of men. and at that Nazarro visibly showed, to a great extent, his desire to wind UP under the time limit by calling for unusual speed in the routine. Masters and Kraft put over the inlt'al substantial wallop, No. 3, with their revue. The act continues to stand out through the action sup- plied. Outside of the dancing team Bobby Dale registered his footwork to healthy returns, and Grace Mas- ters made her vocal numbers count. The "set," costumes and girls haven't deteriorated any to the eye, though a new girl has bten added to the cast as a replacement. The pace is bound to make it appear to advan- tage it it had nothing else, and it possesses an additional ■unsst to a marked degree. A corking so-called "girl act" all the way. Evans and Perez got the perform- ance started in the lead position minus a news weekly ahead of them, and did exceptionally well with their balancing and rissllng offer- ing. Though they were walking In downstairs continuously while the act was on it failed to interfere with their gross acknowledgement, and both men were forced to return for numerous bows in front of the "drop." Jed Dooley followed with his chatter and versatile bits, mean- while passing remarks on holding the No. 2 spot that may ha\ meant laughs before the "wise" matinee mob, but lost in the evening and could be passed up for the rest of the week without doing any material SALLE and ROBLES Comedy. 14 Mins.; One. American. Two men, one straight singer, the other "nut" comedian. They be- gin with a duet, go Into cross fire talk, the comedian clowning ad lib. pretty much as he pleases and getting a lot of laughs out of a wild haystack of hair Straight man announces he will sing the choruses of a collection of old songs and starts with an old ballad. Comedian comes in at the end of the verse and sings a par- ody of the same songs. "Sidewalks of New York" was one of the choruses, the comedian using a "blue law' ' parody to cap the straight version. All rough hokum, but they laughed at the American even clos- ing the vaudeville section Just be- fore the feature picture. Fairly effective turn of Its sort for the grade of audience at. the Iioew 4Hd street eslavDiTshment. Hush -x*c harm. The "Co.*' still attracts at- tention less a verbal effort. Burns and Frabito took unto themselves the first laugh honors of the night, succeeding the revue, and in turn came Miss Kay. who deliv- ered four songs in a more polished manner than hitherto credited to her. As a singer of pop melodies Miss Kay Is undoubtedly there, and it was her style of delivery that needed touching up. Toned down a bit this girl is now presenting a singing single that will score in any of the houses, and has lost the too rfrea c itt aigre^sfrV"!^**' which & formerly contained. The quartet of melodies left them calling for more, but though she wired her pianist to return for another number he failed to appear, which left only the altern- ative of a speech that was short and sufficed. Frisco, with Loretta McDermott and Eddie Cox, wound up the first half with a display of fast dancing that had Mr. Cox running away with the major portion of the returns, due to his one number of fast step- ping and the soft shoe bit. It seems as if Frisco were inclined to overdo somewhat while he is on, also dem- onstrating a tendency to linger more than is necessary. It's probably a fact that imitations have killed the effect of his "hoofing," and the more or less of a monolog that the jazz dancer is now doing is his main bid for recognition, allowing that he's the only one who can really put across his particular style of foot- work. Miss McDermott is only allotted a short space in which to put it on alone, snd then comes far from cutting loose with the ability that is hers. The turn was solid at the finish, with most of the applause being directed in Cox's direction. After the Nazarro hold-up the Marx Family (second week) showed and proceeded to ruin it all over again with their new act. There is much of the slapstick, but it goes for laughs, and in this respect Julius, the lather in the act, is running wild. One of his gags threatened to tie it up altogether for a few min- utes, being his request for a song to be played, entitled "Babes in the Wood—by Stillman." It's a howl while it lasts. Added to the com- edy Is the musical talent which can't miss, (.^specially the harp, though it might be to advantage if the pres- ent piano selection were given an airing as it's the same number de- livered in the former act. Hattte Darling pleased with her violin ren- dering, while the girls made it inter- esting and dressed up the stage in an acceptable manner. Concluding, and in "one," the gang trouped out augmented by Jed Dooley, Masters and Kraft, and Frisco, who dil his dance once more and sneaked In on a couple of bows with the Marx boys. Closing were the Yip Yip Yap- hankers, who had to work fast due to the lateness of the hour, but at that kept 'em seated and finished at 11.16. CLARA THEODOROS and CO. (2). Acrobatics. 7 Mins.; Full Stage. 58th St. Two men. in addition to Clara Theodoros. the latter of Amazonian type. She immediately mounts to the top Of the rigging, holding while suspended in the rings and Other devices upon winch the straight man works. The comic of the trio figures ir. Severn I feats, principally the finale Which had him In ■ hiad- stand atop a perch supported by the straight via a teeth hold. The otiie. feature trick is a one- arm lift by 'he straight man, who exhibited considerable endurance. Tht Greek (ostiums were M w but n«d as neat as the m<»rc conventional attire by ICrSTSBtn, Did well npen- * ing the show. ftf* RIVERSIDE. An in-and-out sort of show at the Riverside for Holy Week. Charles (Chic) Sale captured major honors, next to closing, with the Lee Chil- dren and Vernon Stiles splitting it 50-50 for second. Monday night the house held about three-quarters capacity, but anything the crowd lacked in numbers was more than made up in enthusiasm. The first part ran slowly. Hnrlo, a gymnast, opened: Bert Levy was third, and Pearson, Newport and Pearson sec- ond. That made almost three silent acts in a row. there being but one song in the Pearson. Newport and Pearson turn and no dialog. This of course tended to deaden the pro- ceedings, Hurio being a silent turn and the Bert Levy act minus the spoken word. Pearson, Newport and Pearson went very Veil. It's a two-man and a woman combination, the men, both first-rate ground tum- blers, coupling that up with simple buck-and-wing stepping, and blend- ing the two together for an amusing session of acrobatic dancing. The woman pianologs a number, accom- panies the dancers, dances a bit at the opening and generally helps to* complete the picture. The habit of asking applause has grown to be a fixed rite in the New York houses. Bert Levy, who surely does not need to descend to that, intimated in writing he would like the audience to applaud. Later one of the Lee children pantomimlcally suggested the same thing. Mr. Levy*"entertained with his familiar sketching, including among his sub- jects Ex-President Wilson and the late Ex-President Theodore Roose- velt. That came at the finish, and Mr. Levy left the stage amid a storm of applause. Naturally, who wouldn't? A first-class artist and a good entertainer, Mr. Levy doesn't need "kind applause" props any more thun he does to ask for appro- priations. Maud Muller, assisted by Kd Stanley, fourth, got laughs consist- ently with an old-style talking turn Miss Muller handles the comedy. The roupla are going to a banquet and Miss Muller insists she must have something to eat immediately. The frame-up is a close rotation to the familiar blackfat >S doubles wherein the comic likewise is at* ways asking when I Ivy are roing to eat Another ancient idea ix the plan of having the straight start a speech, the tomlc (Miss Muller) misquote him and the straight re- peal »he mi*quotation. This Is over- done. An Irish "come all ye," sung by Miss Muller with contrasting tenderness and comedy, shows con- clusively what she could do with tho right material. The act carries two drops and is up to the minute aa to mounting. Too bad the same cannot be said of the material and method. Tho Lee Children closed the first half. The children are not nearly mo amusing as when first playing around last season. Then they were Just two simple kids, natural and unaffected. One of them Is yet, for Ihxl ;::u»w,; irat *Jai* v.*o > the comedienne, nas become too sophis- ticated for a little girl. She's almost a "child actress" now, with all the drawbacks that that may hold for her. Whoever is handling the chil- dren had better watch this little girl. She's a natural comic, but has evidently been watching the wrong type of vaudeville comic and model- ing her performance accordingly. Once during the act Jane knocked the director's hat off his head. An- other useless piece of business was the pushing of her hands into her sister'n face during their curtain speech. This tendency to "fresh- ness" had better be curbed right away or the child will be spoiled. The "deathbed" scene still remains an effective feature. It is exquisite- ly done by the children and gets them more than all of the overwise clowning put together. The act was the hit of tho first part. Vernon Stiles (New Acts) opened the second half, and Valerie Bergere was next. Miss Bergere gets a lot out of the character of a shiftless wife in "The Moth." the sketch she is using this oeason. Playing has gaited the a*ct like clockwork, and every bit of comedy possible ia brought out for full value. Tho dra- matic denunciation in the dream is played legitimately by Miss Bergere. and registers heavily despite the florid character of the heroics it contains. Chic Sale received a reception when his card was flashed and an ovation when he cntored. All Of the old sure fires are enlisted among his present assortment of characters, including the tobacco-chewing horn player, the wise-cracking rube, old maid, rube kid and girl elocutionist. Without speaking above a conver- sational tone or straining in the slightest way for an effect, Mr. Sale kept the house tittering, laughing and yelling alternately for 22 min- utes without a break. He's in a class by himself. Van and Emerson, hand-to-hand gymnasts, closed with a nicely staged turn that held the house in surprisingly well. Bell. ALHAMBRA. Monday night found a very good house in. The lower floor was filled except for the extreme sides, and the balcony looked capacity save for the boxes. The bill proved the beet entertain- ment offered here for a number of weeks, both sections standing up strongly, and there was a succession of high scores, no turn failing to hold Its spot. Kitty Doner, with Ted and Rose, headlined, with Charles Withers having the bottom line. The Doners, closing intermis- sion, won the honors, and there were thanks from Kitty. They liked her immaculate male bits, but the punches came With the old Bowery bit and the gypsy finale. The fun of the tough bit found a sure mark, and the violent contrast of Kitty from swallowtail to "curves" supplied the change of pace added to expres- sions like "wonderful goofer," more modern than the terms of the olden days. In the tattered silks of the gypsy number Miss Doner gave the impression of being built like a watch. Just a little more care in the dressing of Hose. In the old- i shioned number with Ted the lace pantalettes appeared past their use- fulness. Wither* with his company In C. B. Maddock's "For Pity's Sake" was a howl second after intermission. It proved with a surety Its ability to stand up under repetition and the weathering of seasons. It is likely that some new bits are put on from time to time. Either that or some are forgotten from time to time by audiences. The business of fishing up the boot is one of the unremem- bered bits. Withers bowed and bowed after the curtain, finally stripping wig and goatee. George M. Rosener and Franklyn- Charles Co. were solid hits in num- ber tour and three, i< soectivci.v, "Rosener has mixed hfa heavy work with the light, the comedy bits be- ing wisely made the most Important. Some lines sounded as though added recently. Two were In the old sol- dier hit in the talk about getting married. Towards the finish he re- marks he had better not get mar- ried after all, for he couldn't stand the pace. "One long, lingering kiss and I'd die" might be considered dangerous also the line about shimmy. During the bit he pro- duced :. half-pint fiask Which he described as home brew, abo "un- dertak- is' delight. Take a drink and Kct measured." Frank lyn and Charles have switched the opening lyric slightly. It takes in a snatch of "Annie Lau- rie," and is an Improvement. They concluded with the chair lift" to ii storm Of Applause and did not en- core The !>'>ys can stand new tux- edo* for the opening. The girl In th* turn aansj well and served nlcel) for the changes, ns always. {Catherine Murray, opening int< mission, landed for a hit. Miss Murray was out over the Orpheum last season, but has played few of the big houses in New York. In- stead of using a harmonica player she has Murry Rubens at the piano. A yellow baby spot always keeps him in the picture. There was a male plant in an upper box. He split the watt with Rubens during a costume change, offering "Over the Hill" (it was a cinch this mini her had Isj come). Miss Murray's routine was made up of published numbers with the exception of the waitress song. isvhUaH r!a* , 'IWiJ*^n*e(>for .«mc laaw. •>*"' There was a line with ljubens ancnt the fur coat worn for the number, she saying she paid 5.000 francs in Paris and the accompanist asking "now many Johns in Harlem." The box plant aided In "Now the Boys Don't Whistle Any More," but tho house was backward in joining in with the "tag" whistle. Miss Mur- ray had plenty of friends in, but she looked good, displayed clear enun- ciation and recorded a favorable impression.' Glenn and Jenkins had the show's toughest assignment, going on next to closing and immediately follow- ing the laughmaker Withers. Tho colored comics made good despite their prolonging the talk instead of speeding it. They drew a strong hand on the first exit, returning for the dance and song bits. After 20 minutes they appeared still willing to work, though it was 11.15. Ill- ness is said to have caused their failure to return after the musical bit last week at the Colonial, the act withdrawing after Monday. They are reported booked back at the house soon. Frank Hurst made a strong num- ber two. He used Sophie Tucker's "It's All Over Now" early In tho routine. The number seemed to fit his voice much better than some others at which he strains. Hurst was immaculate in dress. He may have been in a hurry In making up, for a ball of rod showed on either cheek. Robbie Gordone closed., 8he ap- peared posed in a robe of some kind for a quick curtain rise, and It proved a good stunt, holding tho house, with the first regular pose, that of "Crystal," being especially effective. Mile. Nana with Mons. Alexis opeaed, and the hard work of the couple drew a well-earned hand. Ibee. HAMILTON. The weather man cut into tho usual attendance at the Hamilton Monday night of the Easter Festival bHl to considerable extent. Tho back of the lower floor, the boxes and balcony being the worst suffer* Ing portions. Those who attended witnessed a good nine act vaudeville bill topped by Billy B. Van and James J. Cor- butt, who held* the next to closing position, giving the second half of the bill a fine comedy flavor just where it was needed. The whole bill showed careful se- lection and clever lay-out playing as smoothly as the tongue of an oil stock promoter in a wholesome blend of modern vaudeville. Ollle Young and April, a pretty opening act. were light and enter- taining enough to start the evening, auspiciously followed by Lew and Paul Murdock. two of the best of the modern exponents of male hoof ology. The Murdocks Jazzed am? slid In double and solo step contor- tions, winding up with an acrobatic eccentric double that cinched It for them. Both can dance, showing several different styles from the buck and wing to the modern slid- ing to a split type that Is so preva- lent. Nat Nazarro and Co.. including Buck and 1 Bubbles, the two enter- taining spade juveniles that Nat drafted from the south, held down the third position and held up the show at the Completion of their offering. The act is pure, un- adulterated variety containing a bit of everything from tho Naxarro s acrobatics to the Jazz piano playing, singing and stepping of the colored kids. Bubbles* voice is beginning to sound a trifle ragged, but this may have been caused by a cold. Tiny iancTed strongly with their apsctalt) . however. Bubbles' solo dance of legomania stepping putting them away with room to spate. ftwrft and Kdley quietly e nt ere d next with their artistic talking turn, one of the most delightful man and woman combinations in vaudeville. Tho contrasting personalities aro ideally suited to the dialog. Mary Kelley's sweet simplicity making a perfect contrast for his "wish" con- ning. Her song selection reflects credit on their judgment, the song chosen ("Last Night I I^ay Dream- ing"), one of the most beautiful of the old ballads, being a perfect selection for her splendid soprano. They were ono of the hits. Rose and Moon, the dancers, were next ant! held up tho speed of the first part with their fast and grace ful stepping. The waltz clog and other doubles were perfectly exe- cuted. Most of their specialties are a mixture of old and new school stepping. A purple velvet cycle and big league costuming was the pro- duction flash. After intermission GraCS Nelson with Karl Browns at the piano, took th»» artistic hit of the evening with her sdhg cycle. "Kismet," "Now I Lay Me Down,** "Dream of Tour Nmlte." an operatic excerpt and'fill l'li." sung In Kngllsh for an encore.